http://kylemcmakin.com/wp-content/ipoh-hook/ligeg-dating-site.php Carstensen, Georg and Charles Gildemeister. Carvalho, Solomon Nunes. New York: Derby and Jackson, Foster, George G.
Hostess of the Western Provinces pavilion. Quebec pavilion at night. Account Options Entrar. Big cake is world's fair model. Bard Graduate Center Gallery. Plan de l'Exposition de Bruxelles
Fifteen Minutes Around New York. New York in Slices. New York: W. Burges, Greeley, Horace. New York: Redfield, New York: G. Mathews, Cornelius.
New York: Johns S. Taylor, Matsell, George Washington.
Matsell, New York: George P. Richards, William C. Putnam, Rodgers, Charles T. Philadelphia: John J. Hawkins, Saunders, Frederick. New York in a Nut-Shell. New York: T. Strong, Silliman Jr. The Official Awards of Juries. New York, W. Auerbach, Jeffrey. New Haven: Yale University Press, Victorian Interior Design.
New York: Crescent Books, Bartlett, Randall. Armonk, N.
Sharpe, Bellion, Wendy. Bennett, Tony. Bergmann, Hans. Philadelphia: Temple University Press, Blumin, Stuart M. Cambridge: Cambridge University Press, Breidbach, Olaf. Brown, Henry Collins. Hastings-on-Hudson, N.
Burrows, Edwin G. New York: Oxford University Press, Burrows, Edwin, G. New York: Palgrave Macmillan, Calefato, Patrizia. Milan: Charta, Clinkscale, Marth Novak.
Makers of the Piano, Vol. Oxford: Oxford University Press, Costello, Augustine E. Costello, Crary, Jonathan.
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The World's Fair Ephemeral and Graphic Material collection contains ephemera and graphic material for more than 35 fairs and international expositions. The fairs represented range from the Great Exhibition of the Works of Industry of All Nations, held in London in , considered the first world's fair, to the present.
The ephemera portion of the collection includes advertisements, letters, postcards, tickets, trade cards, menus, souvenir ribbons, and scarves. The graphic materials portion includes illustrations, maps, newspaper clippings, pamphlets, periodicals, photographs, prints, sheet music, stereographs, and a stereograph viewer.
Official catalogue of the New-York exhibition of the industry of all nations. Published: New-York, G.P. Putnam & Co., Subjects: Exhibitions. Aug 15, Official catalogue of the New-York exhibition of the industry of all nations. by: New York Exhibition of the Industry of All Nations.
Use and Access to Collection This collection is open for research. Duplication and Copyright Information Photocopies of original materials may be provided for a fee and at the discretion of the curator.
Please see our Duplication of Materials policy for more information. Queries regarding publication rights and copyright status of materials within this collection should be directed to the appropriate curator.
Additional Description. The ephemera portion of the collection contains advertisements, letters, postcards, tickets, trade cards, menus, souvenir ribbons, and scarves. The graphic materials include includes illustrations, maps, newspaper clippings, pamphlets, periodicals, photographs, prints, sheet music, stereographs, and a stereograph viewer. Administrative History The idea of world's fairs originated from a French tradition of national exhibitions, a tradition that concluded with the French Industrial Exposition of held in Paris.
This fair was soon followed by other national exhibitions throughout Europe and the United Kingdom. It became a platform for countries from around the world to display their achievements. This exposition set the precedent for the many international exhibitions or world's fairs that have continued to be held to the present. It can be analyzed, represented in new ways. It can be searched, sorted, faceted, mapped, and turned into networked and nodes. Revisualized and revitalized in digital scholarship, this database and subsequent visualizations offer non-narrative perspectives to the exhibition's construction and imagined possibilities.
Contributing both to historical and museological scholarship, Cataloging History considers histories of technology through the catalog to understand exhibition construction and the ways in which we can reconstruct it in the digital age. Ultimately, visualizations of any kind open up the catalog to a new form of interrogation. But they also ask us to reimagine the relationships connections embedded inside. What if we wanted to re-curate the Crystal Exhibition by role, showing off inventors and agents in the major divisions?
What if we wanted to use this as an opportunity to tease out specific class categories? What if we wanted to reorganize the catalog by class first, instead of country? Visualizations offer us the ability to think through both the construction of the exhibition and the catalog, while also allowing us the chance to reconstruct its data to new ends. We can use the database and visualizations as way to look into the past, evolving this nineteenth-century exhibition along with new forms oft he catalogue.